Today we are proud to welcome Boston singer-songwriter Anjimile to the label! Their debut album entitled Giver Taker will be released on September 18, 2020.
Giver Taker is a beautiful piece of work that encompasses a wide swath of musical genres - think Sufjan Stevens-esque pastoral ballads against warm, steady instrumentation informed by a mix of 80’s pop, Malawi music and The Lion King. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person.
The first single, "Maker" is accompanied by a visually stunning lyric video by illustrator Gemma Tracy-Burns. Watch it below.
Pre-orders are now open for vinyl, CD, cassette, unisex boxers, as well as a few bundle variations. Shop HERE.
Father/Daughter Records: How'd you first hear of / begin working with F/D?
Matt Berry: Before F/D I had never worked with a record label. Happy Diving put out a song from an EP we had recorded to share with our friends and F/D caught wind, got in touch and made it all happen for us. We were clueless with regards to music industry stuff but Jessi took great care of us. We did that cassette release and then later that year put out Big World.
F/D: How'd you meet the rest of your bandmates?
MB: We were all scattered around the East Bay at the time. We met through the small music scene that existed in our part of the bay, Newark, Dublin/Pleasanton, San Ramon Valley, etc. Our previous projects started to fall apart and our common interests in heavier, guitar centric stuff brought us together to start HD.
F/D: What were some inspirations for some of the songs on the record?
MB: We were all quite young when we started the band, around 18-19. Ascending from childhood to adulthood played a large role in the material. We really didn't know better than to try and emulate our favorite bands at the time. Older groups like Dinosaur Jr. and My Bloody Valentine but also modern acts like Milk Music, Tony Molina, Ovlov and California X. We had serious intention with the band but it was mostly just a breezy and fun time, writing music, practicing and hanging out.
F/D: What was the recording process like? Any super memorable moments?
MB: Recording was probably one of the best parts about being in Happy Diving. We did every record at The Atomic Garden with Jack Shirley back when he was based in Palo Alto. I haven't had a recording experience like it since. Being on a budget forced us to really hone things in before we got to the studio. When we were there we would do one or two takes of a song and call it good. Big World was recorded in basically one day. I could never do that now. It's a very tired phrase but things just seemed easier back then.
MB: Happy Diving has been on hiatus since 2016 but we've all kept busy. Mikey and Sam have a TON of projects. too many to list but their main projects are New Circle and Toner, respectively. Sam also runs a record label called Smoking Room which has put out a lot of cool music. We had a rotating cast of guitar players over our short stint as a band. Our original and longest standing guitar player, Matt Yankovich, now plays guitar in Just Friends. Kevin Prochnow joined the band as our third guitar player somewhere down the line; he also plays in Just Friends. Our friend Will Anderson did a short stint in the band, he now has a group called Hotline TNT. As for me, I have two main projects, Big Bite and The Berries.
This Friday, June 19, from midnight to midnight Pacific Time, Bandcamp will be donating 100% of their share of sales to the NAACP Legal Defense Fund. Below are some BIPOC artists we recommend supporting, following, and sharing!
Adam Schlesinger was a prodigious and prolific songwriter, producer and multi-instrumentalist. He died on April 1 at the age of 52 as the result of complications from COVID-19.
Not only was Schlesinger in multiple beloved bands—including the power-pop-leaning Fountains of Wayne and sophisticated electro-pop act Ivy—but he also collaborated on songs for movie soundtracks and the TV show Crazy Ex-Girlfriend.
A wide array of artists touched by Schlesinger's life pay tribute to the many musical projects of which he was a part via a Bandcamp-exclusive benefit compilation, Saving for a Custom Van. The 31-song collection features collaborators, tourmates, friends, and fans putting their own spin on songs spanning his entire career. Participating artists include Jody Porter of Fountains of Wayne, Ben Lee and Sarah Silverman, Nada Surf, Kay Hanley of Letters to Cleo, Tanya Donelly and Gail Greenwood of Belly, Rachel Bloom and Jack Dolgen of Crazy Ex-Girlfriend, Jeff Rosenstock, Motion City Soundtrack, and many more.
100% of Saving for a Custom Van proceeds will be donated to MusiCares' COVID-19 Relief Fund, which is dedicated to helping music industry and community members affected by the COVID-19 pandemic.
For the entire month of June, save 20% on anything across our webstores + Bandcamp using coupon code "DAD20" at checkout. That includes our new F/D's Burgers tee, which you can get for your favorite paternal figure in your life starting now!
We will also be donating $1 from every item sold in our webstores & Bandcamp in the month of June to The Okra Project, a collective that seeks to address the global crisis faced by Black Trans people by bringing home cooked, healthy, and culturally specific meals and resources to Black Trans People.
Lastly, tomorrow (June 5th) marks another Bandcamp Day, in which our favorite music discovery platform waves their revenue share for 24 hours. Open your hearts & wallets and support some of our favorite Black artists listed here:
Today marks the release of Esther Rose's EP of covers, My Favorite Mistakes. Listen to her renditions of songs by the likes of Sheryl Crow, Hank Williams, Roy Orbison and Nick Lowe. Warm and hopeful, Esther's collection of country covers land between familiarity and the magical place we call home.
Through these performances, Rose sings not only in tribute to her heroes but also in deep, intimate conversation with them, traveling their lonesome highways to find her own new destinations.
Harsh rays of the sun got you down? Squint no longer. Introducing the Father/Daughter mustard-colored PL8-HAT. Show off your favorite label's merchandise in style with this piece of Authentic Pigment headwear. Each hat is one size fits all and has a woven style full color patch. Check out the details of the cap itself below:
- 100% pigment-dyed, water-washed cotton twill - 6-panel, unstructured - Embroidered eyelets - Contrasting pigment-dyed button and visor on two-toned caps - Antique brass snap with tuck-in closure
Patch artwork by Alex Luciano of Diet Cig! Hats begin shipping the week of 5/25!
In case you missed it, our little label is turning 10 years old this year. To celebrate our anniversary, we're rolling out a monthly series of features on some Father/Daughter artists. They'll tell us who they are, give us a look into the making of their record, what they've been up to since, and even put together a playlist for us to soundtrack this 10 year anniversary party with. Our fourth entry in the series goes back to 2013. Get some insight into the origin story of The Everywheres (Sam Hill) and his record, The Everywheres. Listen to the hand-curated mix from Sam, here.
Father/Daughter Records: How'd you first hear of / begin working with F/D?
Sam (The Everywheres): I hadn't heard of label when i first heard from Jessi. It was probably almost 8 years ago and I had just stopped playing with my first band. It was an exciting attempt with old friends but I didn't know how to write songs back then. Anyway, a girl in LA named Jennifer Graciano who is great (and I once in a blue moon still say hey to) had a music blog that I actually can't remember the name of. She had posted a few songs by my first band Spooky Campers. I'd been living in Halifax with my partner Shannon at the time who was our first bassist, and was recording a few songs on my own in the basement office room. I sent them once to Jennifer and she threw it online. By some insane instance of chance Jessi happened upon it and liked it enough to try and get in touch with me. It was surreal. I remember speaking on the phone with Jessi a few times and remember it being semi surreal that a real honest record label would want to put my music out. Breaking into the small scene that we had here at the time seemed like big enough a challenge on its own but it really pushed me to be brave so to speak. She sent me a few records they put out that I still have, Pure Bathing Culture, Mutual Benefit and a 7" by a band I think was called Family Trees that I absolutely loved. Obviously I said yes I'd love to put a record out and I finished the first lo-fi, strange days, learning as I went along record. I could be wrong but I think my record was the first full length, which is truly an honor considering who has come next. To be somehow linked to those artists is humbling. On a side note, I actually travelled to San Francisco a few months before the album was released and stayed with Jessi and David in San Francisco. I was younger and still figuring things out but they were the most gracious hosts. The kinda folks who can immediately put you at ease and make you feel like family. Father/Daughter/Son/Brother/Sister/Mother records.
F/D: How'd you meet the rest of your bandmates?
Sam: We've had many bandmates and forms through the years but there is definitely still what I would call a "core group". But I guess even the folks that gave their time to only fill in or play a few shows with us I remember very fondly, (shout out to Noah Dalton, that Menz and Mollyz show where he parted the crowd, of York Redoubt Fame). Shannon who I mentioned earlier was my partner for nearly two years and we were living together for the entirety of the writing and recording of the album. She sang on a few tracks and you can easily pick her out. Her encouragement saw me through more than probably 2 moments of self doubt. So Shannon was friends with Nick Hanlon and Curtis Rothney. They had lived next door to each other and those two were what you would call young and beautiful boys who skateboarded. They had been playing guitar and drums respectively for a couple months each, not long at all but we decided to jam. We might not have sounded complicated but right from the start we knew how to play with each other. They felt like family pretty quickly. Anyway I can't go on about every story and member of the band because no one cares and I don't want to type that long. Brian played drums a lot. He is the best drummer in the world and he played on Dignity Fever and our live tape. Adam is the best bassist in the world and he's been with me through thick and thin. Rilla played the piano for us and she really is closer than family at this point. Bianca I don't see so much anymore but she was a brilliant drummer and the funnest person to tour with. Seamus, or Zuul if you want to call him that. Love him too.
F/D: What was the recording process like? Any super memorable moments?
Sam: The recording process back then, especially compared to now, was ridiculous. I'd imprison myself in my basement if I caught myself recording like that now. I had a slow computer and a very basic Tascam four track. It was all overdubs and drum loops. Driving the tape, driving the computer. The record obviously in retrospect I would change but it caught a time and it caught a moment in my development as a recording enthusiast and as a songwriter and I'm proud of it. But yep. it was basic, not secrets there just pressing buttons.
F/D: Any favorite F/D albums thus far?
Sam: Favorite releases so far... that is difficult. As I said, that first 7 inch Jessi sent me by Family Trees, there is a song on it called Dream Talkin that I'm still in love with till this day. Shame, I wish they woulda recorded more songs. Wonder what they're up to now. I don't keep up with music so well unless its something I'm obsessed with but there are a few. It was really cool to see Partner who are from Sackville, New Brunswick, only a couple of hours from here in Halifax, put a record out with F/D. Those two have been playing in incredible bands keeping that incredible small town scene going for a long time and I was glad to see them spread to the world at large. Vagabon, Mutual Benefit, etc. The folks at the label just know how to find genuine people making genuine music. Its refreshing.
F/D: What've you been up to since?
Sam: Been up to a lot and a little since. Won't get into all of it. I've been working on a new album for a few years and it's the best thing I've ever done. It's the first one I've done the drums for too. It's back to being like the first album, all me mostly, though Robert Loveless who is a brilliant musician and my roommate and brother will be on a few tracks. It will be a record thats worth it, hopefully Father Daughter will love it enough to put it out post COVID, post recession, post everything. But anyway, yeah, what have you been up to in the past 8 years?
New York-based DIY pop pioneer Sir Babygirl is sharing the new music video for "Cheerleader." Co-directed by Sir Babygirl and Olivia Cucinotta and executive produced by Portal, the video stars a bevy of up-and-coming New York comedians and actors as hormone raged high school cheerleaders.
Sir Babygirl explains, "This video is for any queer person who wishes they could reclaim their high school experience and enjoy exploring their sexuality without guilt or shame. Here’s to building the world we don’t want to just survive in but get to be our whole entire ridiculous fucking selves in, both within the music industry and outside of it.”
Buy her latest full-length record, Crush on Me, here.
Christelle Bofale has visually revisited her song "Miles" along with the help of director Urzulka. Read how the concept for the hypnotizing and surreal video came about below and download "Miles" here.
The process of the project started with Christelle expressing to me where her lyrics from "Miles" stemmed from. From there, we came up with a plan to allude to a story without being a traditional narrative idea. The video is a representation of some of the cycles of life --- moving along through and with friendships and memories. - Urzulka
Having written the track so long ago, the process of creating a visual accompaniment was a chance for me to revisit what "Miles" meant to me then as well as what it means to me now. I came to Urzulka with thoughts about the passage of time and how, despite leading different lives, we're all existing within the same space and driving the same roads. Together, we came to realize that a lot of how we measure time is by our relationships; we can remember five years ago and the friends, coworkers, and neighbors we had. They define that time and give it life. Eventually, the video became a story about routine, the importance of friendship and community, and motion. - Christelle Bofale
Announced today and out May 29, My Favorite Mistakes, a selection of downer anthems covered by Esther Rose and her band. Recorded live over three days, it includes songs written by Sheryl Crow, Nick Lowe, Roy Orbison, and, of course, Hank Williams. Through these performances, Rose sings not only in tribute to her heroes but also in deep, intimate conversation with them, traveling their lonesome highways to find her own new destinations. Pre-order My Favorite Mistakeshere.
“The truth is all these rhymes / barely hold me together,” Tasha begins, in her new single "But There's Still The Moon", her rich alto cutting through a veil of accompaniment. Written in early 2019, this single takes the optimistic message of gentleness that pervaded Alone at Last and examines its vulnerable underbelly. “Inside hiding / it’s ok, don’t want to be seen,” she concludes, musing on the paradox of what she shares publicly and holds privately. Released of the obligation of optimism, this song is a deep inhale of lung-filling breath, a meditation on a difficult tenderness. Tasha shares a raw honesty while cradling the listener loosely in her arms.
Reflecting on the lunar subject of this song, Tasha says “for me, the moon is reliable, beautiful, it’s anchoring.” Despite the wearying trials of daily life, when confronted with the often unexpected sight of the moon through her bedroom window, there’s a sense of stability. “There she is,” Tasha reassures herself, comparing the moon’s luminous presence to a sigh of relief. And so, as the bridge slowly builds in heart-clenching urgency Tasha reminds herself―“there’s still the moon / and I still really love the color blue,” before losing herself in a dizzying crescendo chorus.
Listen to / download "But There's Still The Moon" here.
We're turning 10 years old this year! To celebrate, we are featuring Father/Daughter artists past and present each month. 2012's featured artist is Pure Bathing Culture (Sarah Versprille and Daniel Hindman) and their phenomenal self-titled record.
Father/Daughter Records: How'd you first hear of / begin working with F/D? Pure Bathing Culture: We posted a few songs on Bandcamp and Jessi reached out to us via email. We were spending quite a bit of time in San Francisco during that time because we played in the band Vetiver and Andy Cabic was (and still is) based there. We met up with Jessi (and David!) for a few meals and hit it off immediately.
F/D: Each other? PBC: We met at freshman orientation for college in New Jersey when we were 17 and 18 years old. We worked together a lot over the years in various projects and then started Pure Bathing Culture in Brooklyn, NY in 2010 when we wrote our first song together.
F/D: What were some inspirations for some songs on the record? PBC:Lucky One - This was the first song we ever wrote together. It’s hard to describe directly what this one is about, but it’s kind of a story of being overlooked, of being the last one chosen. The track was equally influenced by Motown and African guitar music like Green Arrows Band and S.E. Rogie.
Silver Shore’s Lake - The lyrics are about telling someone you love that you wish you could take care of a problem for them or somehow carry them around it so they wouldn’t have to experience it themselves. The track was really influenced by The Durutti Column who we were fairly obsessed with at the time (and still are!). This was definitely Richard Swift’s favorite song on the EP, he made up his own title for it which was “Adult Jam”.
Ivory Coast - We wrote this pretty much right away as soon as we moved to Portland early 2011. We were house sitting for Eric Johnson from Fruit Bats and his wife Annie Beedy (who took our first press photo for this release) and we wrote and demo-ed the whole song in Eric’s basement studio. It reads like a traditional love song and we guess it probably is, but at the time we were writing it we were trying to write about the extent someone would go to pursue their muse or what inspires them the most. In terms of the track for this one, it’s going back a while now but we’re fairly certain this was the first song where we recorded the guitar direct which became a huge pillar of our sound moving forwards from there.
Gainesville - This song is partially about the death of close friend who died tragically in a motorcycle accident and also partially uses the concept of Gainesville, which is a place we have no ties to whatsoever, as some kind of magic or mythology that means something only to us. Often when we’re writing we’re making an imaginary world of our own real through the characters and stories in our songs, more so than talking literally about our own lives.
F/D: What was the recording process like for Pure Bathing Culture? PBC: We made the record over the course of two different sessions in Cottage Grove, Oregon at Richard Swift’s studio National Freedom. The only people there were the two of us and Richard. It was recorded pretty fast. We recorded some elements on a 4 track tape machine and then dumped that into pro-tools. Most instruments were recorded direct.
F/D: Any favorite F/D albums thus far? PBC: Diet Cig, Shamir to name a few but they’re all so good!
F/D: What've y'all been up to since? PBC: We’ve made a bunch more records, played a bunch of shows and much more to come!
Can our Sheryl Crow fans please stand up? Esther is back with a stunning cover of Sheryl Crow's classic, "My Favorite Mistake." Recorded live to tape at The Tigermen Den in New Orleans, Esther's distinct folk stylings take center stage on the sultry, reimagined version. "When people ask what kind of music I play I generally tell them ‘country & folk’, but the truth is my band has a secret genre for my songwriting style which they call ‘60s/90s’; this weird blend of late 60s folk and early 90s alternative rock," explains Esther. "My Favorite Mistake somehow slides right into that comfort zone. My band and I had a lot of fun coming up with our own arrangement; Dan Cutler is playing that iconic guitar riff on upright bass, we slowed down the tempo, and I changed a couple words to make it a little more hopeful."
In case you missed it, our little label is turning 10 years old this year. To celebrate our anniversary, we're rolling out a monthly series of features on some Father/Daughter artists. They'll tell us who they are, give us a look into the making of their record, what they've been up to since, and even hand curate a playlist for us to soundtrack this 10 year anniversary party with. Our first entry in the series goes back 2011. Get some insight into the origin story of Jordan Lee (Mutual Benefit) and his half on the split LP, FD-004, Mutual Spirits.
F/D: How'd you first hear of / begin working with the label? Jordan Lee (Mutual Benefit): The short answer is I was (am?) a big nerd on the internet that was really excited about the democratic promise of 2008-2013 online music communities. I spent years listening to and blogging other people’s songs while quietly working on my own and eventually worked up the courage to share my own work. I met Jessi from Father/Daughter and Holy Spirits through that world. Jessi had released 2 great EP’s from Levek and toothache and was really hoping to work together some day.
F/D: How about Holy Spirits? Jordan Lee: In 2011ish Holy Spirts asked me to join them on a west coast tour. At that point I had never toured or even seen the Pacific ocean so it was an incredibly magical experience. They were really sweet and their shows were so beautiful. The experience was important enough to convince me to pursue music more seriously aka go into credit card debt. Jessi came to our show in SF and we pitched the idea of a split 12” and a waited with bated breath.
F/D: What were some of the inspirations for the record? Jordan Lee: I wrote Mutual Spirits and another EP called I Saw the Sea at the same time. I think of them as a Yin and Yang to each other. The Holy Spirits tour kind of convinced me to drop out of society and devote myself to pursuing art full time. That came with a lot of excitement and a lot of fear. I moved to Boston and lived on the floor of a friend’s rehearsal space and learned how to steal groceries from Stop ’n Shop really well. Mutual Spirits focused on the giddy feeling of riding my bike around and feeling really free. I Saw the Sea was a bit more spiritual to me, it felt like letting go of a lot of parts of myself. When I saw the Pacific ocean for the first time I just kept crying. I had this feeling that I had been living my whole life in a little comfortable bubble and I wanted to explore and be way more open to different ways of living and being.
F/D: What was the recording process like for Mutual Spirits? Jordan Lee: I recorded most of Mutual Spirits in the aforementioned practice space. It was in this old cavernous warehouse so I used different parts for different types of sounds. I remember the bathroom had perfect reverb for vocals so I did the harmonies in there which confused some of the other people who used the space haha. I also starting taking the chinatown bus to New York and doing some recording at a friend’s house there.
F/D: What've you been up to since? Jordan Lee: I recently realized Mutual Benefit has been a band for over 10 years which felt like a big milestone although as the only permanent member it would be hard to kick myself out. In some ways, the EP with Father/Daughter felt like the beginning of my journey with the “music biz”. Nowadays it feels a lot less intimidating than it used to and I can pick and choose what parts to participate in. I feel really grateful that it was Jessi who showed us the ropes early on and not some swarmy record exec. So yeah, I guess I’m doing the same kind of stuff as back then but just drinking a lot more water and keeping better track of my receipts.
“Miles” is the latest offering fromAustin, TX-based songwriter Christelle Bofale. The expansive track spotlights her rich, soulful vocals, backed by a web of pillowy bass, guitar, and keys. Bofale wrote “Miles” while in high school. Looking out the window during English class, she observed how each car was using up the same miles, driving the same roads, yet the destination and lives of the drivers were all completely different. Bofale related to the aimless commuters as she was also on a journey, feeling pressured to map out her post-high school life at 17. Download and stream the track here. Christelle is a featured performer at this year's SXSW Music Festival and supports Caroline Polachek at Mohawk in Austin on April 23.
That's right, our little label is turning 10 years old this year. It's been a wild ride and we've got so many things in store for you in 2020. To celebrate our anniversary, we're rolling out a monthly series of features on some Father/Daughter artists. They'll tell us who they are, give us a look into the making of their record, what they've been up to since, and even hand curate a playlist for us to soundtrack this 10 year anniversary party with. Our first entry in the series goes back a decade to a Katy Perry filled era known as 2010. Get some insight into the origin story of David Levesque (Levek) and his EP, FD-003, Look on the Bright Side.
Father/Daughter Records: How'd you first hear of / begin working with the label? David Levesque (Levek): F/D co-owner Jessi sent me a message on MySpace a little over 10 years ago. If I remember correctly, she had seen me on the band Viernes’ top eight and wanted to work together. About a year goes by and she asks if Id be into releasing an EP on her new label, as well as becoming Levek’s manager. We held off on the management at first, but put out the record. On the east coast tour for that release, our van broke down in New Jersey. It was seemingly hopeless, I then remembered Jessi wanted to be our manager. I figured if she could get us out of this, she should manage us. With a few calls, Jessi saved the tour with a Uhaul truck and became our manager.
F/D: What were some of your inspirations for look on the bright side? Levek: I remember listening to soundtracks and the Delphonics around that time and wanted to mess around with vocal arrangement. I was mostly being inspired by my roommates who played music each other regularly.
F/D: What was the recording process like for the EP?
Levek: Around this time I recorded everything in GarageBand with the built-in mic on my laptop with some twenty dollar Sony headphones. For Look on the Bright Side I asked my roommate Nicole Miglis to write and sing the first verse after listening to the chorus I had tracked in my room. Our voices sound weirdly similar in this track and she just killed it. I remember the violinist Aaron just was hanging at the house that day and he just did those string layers in one take in my room. The b-side track "Sloww" is a track I recorded outside on my porch sitting on my front steps for most of it. I would improv the guitar and vocals in a take, then layered everything else on top like everything was on purpose. I liked recording outside if it was a pretty sounding day.
F/D: What've you been up to since? Levek: After the EP, I tracked and toured a full length album called Look A Little Closer. In the last two years I’ve started a video production company with a few friends called Flooded Productions. I get to combine a lot of my loves into multiple outlets and it’s been a fun new challenge.
Listen to the mix Levek made here and pick up a copy of Look on the Bright Side here.
Tasha (and her band!) visited the Audiotree studios and recorded her incredible performance a few weeks ago and it's available for all to hear starting today! Hit the link here to watch the whole session on Audiotree's Youtube channel or to listen to it on your favorite streaming platform.
Tasha is an indie rock songwriter who "celebrates the radical political act of being exquisitely gentle with yourself". She is deeply invested in her community, has worked with various racial justice organizations throughout Chicago and seeks to explore the "ways music can be a powerful force for healing".
Tracklist 1. Something About This Girl 2. Alright 3. Lullaby 4. Kind of Love 5. Wintersong I